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My oil painting "Scaleni II / Merge II" was at the individual exhibition "Fragments of light". From the series "Fragments of light". 11.2014 - "Déjà vu", paintings , Gallery of Antioh Cantemir , Balti , Moldova 07.2010 - "Fragments of light", painting, Space Gallery, Marka 22 street, Krakow All my works are unique and original. Follow me on Instagram or Facebook for upcoming exhibition information. Varnish: satin finish Signature: front, also signed Certificate of Authenticity "Scaleni III" (2009) is the last piece to be touched on here. This is because while "U bramy niebios" understood in a certain context and given a certain interpretation is an artistic depiction of male logic, of the male predicament -- "Scaleni III" in its way tells the truth about the female predicament. This painting is touching, and lovely in a quiet way. A woman of voluptuous figure sits on a soft chair or sofa, one that is formless and inconsequential. She sits, and the bright orange and red of her excessively womanly figure in contrast to the blues of the furniture and the background suggest a thermal image. It as if we are seeing heat, not light. The woman, her immense heat is constant throughout. She is as if one giant heart. She is vulnerable and demure at the same time -- thanks to the same gesture: she wears her hair down over one of her eyes and half her face. She is naked, but she still veils herself and has rendered herself substantially blind and vulnerable by the same token. Nonetheless, her sultry remaining eye and her bounteous, full lips show she is a woman to be desired. On her lap, though indistinguishable from the rest of her body, is what appears to be a guitar or lute. Its stem is aligned with the axis of her body, the angle of her repose. The resonance chamber or soundbox of the guitar is shaped like an inverted heart. Because of its position to the viewer, this inverted heart seems quite obviously to be the heart of the woman. But it is inverted to suggest that directed outward, externalized, out of the woman herself. It is a remarkable set of associations. The body conveys warmth and desirability. The heart is huge, and not entirely her own, as it is externalized and perhaps equally under the control of some outside force, some other person. And the lute or guitar, which is inseparable from the rest of her, suggests that her body is an instrument. The woman is an instrument for someone or something else. The instrument is played as her heart is played. Is this not the predicament of every woman? Her heart is externalized; she is feeling-oriented to an outside. This makes her heart an instrument to be played by whoever comes along, but she is also an instrument of man's pleasure. She is made vulnerable both by her relative physical weakness but also the powerful nudity she must conceal. Yet that nudity is the source of tremendous power. Men are attracted to her, seek after her as if Heaven, and seek to disappear into her. A remarkable set of associations provoked by a remarkable artist.
My oil painting "Scaleni II / Merge II" was at the individual exhibition "Fragments of light". From the series "Fragments of light". 11.2014 - "Déjà vu", paintings , Gallery of Antioh Cantemir , Balti , Moldova 07.2010 - "Fragments of light", painting, Space Gallery, Marka 22 street, Krakow All my works are unique and original. Follow me on Instagram or Facebook for upcoming exhibition information. Varnish: satin finish Signature: front, also signed Certificate of Authenticity "Scaleni III" (2009) is the last piece to be touched on here. This is because while "U bramy niebios" understood in a certain context and given a certain interpretation is an artistic depiction of male logic, of the male predicament -- "Scaleni III" in its way tells the truth about the female predicament. This painting is touching, and lovely in a quiet way. A woman of voluptuous figure sits on a soft chair or sofa, one that is formless and inconsequential. She sits, and the bright orange and red of her excessively womanly figure in contrast to the blues of the furniture and the background suggest a thermal image. It as if we are seeing heat, not light. The woman, her immense heat is constant throughout. She is as if one giant heart. She is vulnerable and demure at the same time -- thanks to the same gesture: she wears her hair down over one of her eyes and half her face. She is naked, but she still veils herself and has rendered herself substantially blind and vulnerable by the same token. Nonetheless, her sultry remaining eye and her bounteous, full lips show she is a woman to be desired. On her lap, though indistinguishable from the rest of her body, is what appears to be a guitar or lute. Its stem is aligned with the axis of her body, the angle of her repose. The resonance chamber or soundbox of the guitar is shaped like an inverted heart. Because of its position to the viewer, this inverted heart seems quite obviously to be the heart of the woman. But it is inverted to suggest that directed outward, externalized, out of the woman herself. It is a remarkable set of associations. The body conveys warmth and desirability. The heart is huge, and not entirely her own, as it is externalized and perhaps equally under the control of some outside force, some other person. And the lute or guitar, which is inseparable from the rest of her, suggests that her body is an instrument. The woman is an instrument for someone or something else. The instrument is played as her heart is played. Is this not the predicament of every woman? Her heart is externalized; she is feeling-oriented to an outside. This makes her heart an instrument to be played by whoever comes along, but she is also an instrument of man's pleasure. She is made vulnerable both by her relative physical weakness but also the powerful nudity she must conceal. Yet that nudity is the source of tremendous power. Men are attracted to her, seek after her as if Heaven, and seek to disappear into her. A remarkable set of associations provoked by a remarkable artist.
My oil painting "Scaleni II / Merge II" was at the individual exhibition "Fragments of light". From the series "Fragments of light". 11.2014 - "Déjà vu", paintings , Gallery of Antioh Cantemir , Balti , Moldova 07.2010 - "Fragments of light", painting, Space Gallery, Marka 22 street, Krakow All my works are unique and original. Follow me on Instagram or Facebook for upcoming exhibition information. Varnish: satin finish Signature: front, also signed Certificate of Authenticity "Scaleni III" (2009) is the last piece to be touched on here. This is because while "U bramy niebios" understood in a certain context and given a certain interpretation is an artistic depiction of male logic, of the male predicament -- "Scaleni III" in its way tells the truth about the female predicament. This painting is touching, and lovely in a quiet way. A woman of voluptuous figure sits on a soft chair or sofa, one that is formless and inconsequential. She sits, and the bright orange and red of her excessively womanly figure in contrast to the blues of the furniture and the background suggest a thermal image. It as if we are seeing heat, not light. The woman, her immense heat is constant throughout. She is as if one giant heart. She is vulnerable and demure at the same time -- thanks to the same gesture: she wears her hair down over one of her eyes and half her face. She is naked, but she still veils herself and has rendered herself substantially blind and vulnerable by the same token. Nonetheless, her sultry remaining eye and her bounteous, full lips show she is a woman to be desired. On her lap, though indistinguishable from the rest of her body, is what appears to be a guitar or lute. Its stem is aligned with the axis of her body, the angle of her repose. The resonance chamber or soundbox of the guitar is shaped like an inverted heart. Because of its position to the viewer, this inverted heart seems quite obviously to be the heart of the woman. But it is inverted to suggest that directed outward, externalized, out of the woman herself. It is a remarkable set of associations. The body conveys warmth and desirability. The heart is huge, and not entirely her own, as it is externalized and perhaps equally under the control of some outside force, some other person. And the lute or guitar, which is inseparable from the rest of her, suggests that her body is an instrument. The woman is an instrument for someone or something else. The instrument is played as her heart is played. Is this not the predicament of every woman? Her heart is externalized; she is feeling-oriented to an outside. This makes her heart an instrument to be played by whoever comes along, but she is also an instrument of man's pleasure. She is made vulnerable both by her relative physical weakness but also the powerful nudity she must conceal. Yet that nudity is the source of tremendous power. Men are attracted to her, seek after her as if Heaven, and seek to disappear into her. A remarkable set of associations provoked by a remarkable artist.
My oil painting "Scaleni II / Merge II" was at the individual exhibition "Fragments of light". From the series "Fragments of light". 11.2014 - "Déjà vu", paintings , Gallery of Antioh Cantemir , Balti , Moldova 07.2010 - "Fragments of light", painting, Space Gallery, Marka 22 street, Krakow All my works are unique and original. Follow me on Instagram or Facebook for upcoming exhibition information. Varnish: satin finish Signature: front, also signed Certificate of Authenticity "Scaleni III" (2009) is the last piece to be touched on here. This is because while "U bramy niebios" understood in a certain context and given a certain interpretation is an artistic depiction of male logic, of the male predicament -- "Scaleni III" in its way tells the truth about the female predicament. This painting is touching, and lovely in a quiet way. A woman of voluptuous figure sits on a soft chair or sofa, one that is formless and inconsequential. She sits, and the bright orange and red of her excessively womanly figure in contrast to the blues of the furniture and the background suggest a thermal image. It as if we are seeing heat, not light. The woman, her immense heat is constant throughout. She is as if one giant heart. She is vulnerable and demure at the same time -- thanks to the same gesture: she wears her hair down over one of her eyes and half her face. She is naked, but she still veils herself and has rendered herself substantially blind and vulnerable by the same token. Nonetheless, her sultry remaining eye and her bounteous, full lips show she is a woman to be desired. On her lap, though indistinguishable from the rest of her body, is what appears to be a guitar or lute. Its stem is aligned with the axis of her body, the angle of her repose. The resonance chamber or soundbox of the guitar is shaped like an inverted heart. Because of its position to the viewer, this inverted heart seems quite obviously to be the heart of the woman. But it is inverted to suggest that directed outward, externalized, out of the woman herself. It is a remarkable set of associations. The body conveys warmth and desirability. The heart is huge, and not entirely her own, as it is externalized and perhaps equally under the control of some outside force, some other person. And the lute or guitar, which is inseparable from the rest of her, suggests that her body is an instrument. The woman is an instrument for someone or something else. The instrument is played as her heart is played. Is this not the predicament of every woman? Her heart is externalized; she is feeling-oriented to an outside. This makes her heart an instrument to be played by whoever comes along, but she is also an instrument of man's pleasure. She is made vulnerable both by her relative physical weakness but also the powerful nudity she must conceal. Yet that nudity is the source of tremendous power. Men are attracted to her, seek after her as if Heaven, and seek to disappear into her. A remarkable set of associations provoked by a remarkable artist.
My oil painting "Scaleni II / Merge II" was at the individual exhibition "Fragments of light". From the series "Fragments of light". 11.2014 - "Déjà vu", paintings , Gallery of Antioh Cantemir , Balti , Moldova 07.2010 - "Fragments of light", painting, Space Gallery, Marka 22 street, Krakow All my works are unique and original. Follow me on Instagram or Facebook for upcoming exhibition information. Varnish: satin finish Signature: front, also signed Certificate of Authenticity "Scaleni III" (2009) is the last piece to be touched on here. This is because while "U bramy niebios" understood in a certain context and given a certain interpretation is an artistic depiction of male logic, of the male predicament -- "Scaleni III" in its way tells the truth about the female predicament. This painting is touching, and lovely in a quiet way. A woman of voluptuous figure sits on a soft chair or sofa, one that is formless and inconsequential. She sits, and the bright orange and red of her excessively womanly figure in contrast to the blues of the furniture and the background suggest a thermal image. It as if we are seeing heat, not light. The woman, her immense heat is constant throughout. She is as if one giant heart. She is vulnerable and demure at the same time -- thanks to the same gesture: she wears her hair down over one of her eyes and half her face. She is naked, but she still veils herself and has rendered herself substantially blind and vulnerable by the same token. Nonetheless, her sultry remaining eye and her bounteous, full lips show she is a woman to be desired. On her lap, though indistinguishable from the rest of her body, is what appears to be a guitar or lute. Its stem is aligned with the axis of her body, the angle of her repose. The resonance chamber or soundbox of the guitar is shaped like an inverted heart. Because of its position to the viewer, this inverted heart seems quite obviously to be the heart of the woman. But it is inverted to suggest that directed outward, externalized, out of the woman herself. It is a remarkable set of associations. The body conveys warmth and desirability. The heart is huge, and not entirely her own, as it is externalized and perhaps equally under the control of some outside force, some other person. And the lute or guitar, which is inseparable from the rest of her, suggests that her body is an instrument. The woman is an instrument for someone or something else. The instrument is played as her heart is played. Is this not the predicament of every woman? Her heart is externalized; she is feeling-oriented to an outside. This makes her heart an instrument to be played by whoever comes along, but she is also an instrument of man's pleasure. She is made vulnerable both by her relative physical weakness but also the powerful nudity she must conceal. Yet that nudity is the source of tremendous power. Men are attracted to her, seek after her as if Heaven, and seek to disappear into her. A remarkable set of associations provoked by a remarkable artist.

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View In My Room

Scaleni II / Merge II Painting

Svetlana Biletnicova

Poland

Painting, Oil on Canvas

Size: 21.6 W x 13.7 H x 0.8 D in

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Originally listed for $1,660

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ABOUT THE ARTWORK

My oil painting "Scaleni II / Merge II" was at the individual exhibition "Fragments of light". From the series "Fragments of light". 11.2014 - "Déjà vu", paintings , Gallery of Antioh Cantemir , Balti , Moldova 07.2010 - "Fragments of light", painting, Space Gallery, Marka 22 street, Krakow All my works are unique and original. Follow me on Instagram or Facebook for upcoming exhibition information. Varnish: satin finish Signature: front, also signed Certificate of Authenticity "Scaleni III" (2009) is the last piece to be touched on here. This is because while "U bramy niebios" understood in a certain context and given a certain interpretation is an artistic depiction of male logic, of the male predicament -- "Scaleni III" in its way tells the truth about the female predicament. This painting is touching, and lovely in a quiet way. A woman of voluptuous figure sits on a soft chair or sofa, one that is formless and inconsequential. She sits, and the bright orange and red of her excessively womanly figure in contrast to the blues of the furniture and the background suggest a thermal image. It as if we are seeing heat, not light. The woman, her immense heat is constant throughout. She is as if one giant heart. She is vulnerable and demure at the same time -- thanks to the same gesture: she wears her hair down over one of her eyes and half her face. She is naked, but she still veils herself and has rendered herself substantially blind and vulnerable by the same token. Nonetheless, her sultry remaining eye and her bounteous, full lips show she is a woman to be desired. On her lap, though indistinguishable from the rest of her body, is what appears to be a guitar or lute. Its stem is aligned with the axis of her body, the angle of her repose. The resonance chamber or soundbox of the guitar is shaped like an inverted heart. Because of its position to the viewer, this inverted heart seems quite obviously to be the heart of the woman. But it is inverted to suggest that directed outward, externalized, out of the woman herself. It is a remarkable set of associations. The body conveys warmth and desirability. The heart is huge, and not entirely her own, as it is externalized and perhaps equally under the control of some outside force, some other person. And the lute or guitar, which is inseparable from the rest of her, suggests that her body is an instrument. The woman is an instrument for someone or something else. The instrument is played as her heart is played. Is this not the predicament of every woman? Her heart is externalized; she is feeling-oriented to an outside. This makes her heart an instrument to be played by whoever comes along, but she is also an instrument of man's pleasure. She is made vulnerable both by her relative physical weakness but also the powerful nudity she must conceal. Yet that nudity is the source of tremendous power. Men are attracted to her, seek after her as if Heaven, and seek to disappear into her. A remarkable set of associations provoked by a remarkable artist.

DETAILS AND DIMENSIONS
Painting:

Oil on Canvas

Original:

One-of-a-kind Artwork

Size:

21.6 W x 13.7 H x 0.8 D in

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Visual artist. Born in 1981 in Odessa. She lives and works in Cracow. From 2000-2004 she studied painting at the Academy of Fine Arts in Cracow (diploma in Prof. Stanisław Rodziński’s studio), in the years 2002-2008 she studied interior design at that Academy of Fine Arts (vote of approval in the studio of Prof. Andrzej Głowacki). Co-founder of the „Seven” artistic group, within which two international projects were realized: Confrontationen/Confrontations, (Berlin, Cracow) in 2006 and Far - Near (Cracow, Kiev) in 2009. She opened a doctoral dissertation in the field of fine arts, in the artistic discipline of fine arts at the Faculty of Painting of the Academy of Fine Arts in Cracow in 2019. Author of painting series: „Sonder” (since 2018); „America new experience” (from 2017); „Deja vu” (from 2014); „The Shy” (from 2013); „Deja vu” (from 2014); „Fragment of light” (since 2010); „Face to Face” (since 2003) in 2006 and Far - Near (Cracow, Kiev) in 2009. She developed a project of polychromy for the chancel in the Saint Archangel’s Church in Bielce, I draw inspiration for my visual worlds from various sources. Many motives come from experiences, emotional delights and euphoria. I like to paint people in dialogue with myself the most. I am inspired by my feelings expressed by facial expressions or body gestures. I wish to capture emotional of a person, their moods, reactions to the world and to the other person. I use a wide range of situations and emotional states from joy to sadness, from disappointment to delight. I am also interested in painting a figure in relation to space and landscape. In my painting compositions I formally refer to colour field painting, art informel abstract expressionism and metaphorical art of figuration. I often concentrate on surreal imaginary situations. For this purpose I use the traditional oil technique on the linen canvas substrate. In the last period of my work I have tried to combine various types of measures characteristic of many fields of art: painting, drawing, mural, collage, artistic fabric, handmade paper, making interior design and I will continue to search for the right form for creative solutions. The need to identify myself, experiment, discover „my own self”, encourages me to abandon what was an affirmation of the external world to distinguish what we call the internal world, the emotional one. I allow abstraction to permeate with restrained expression of the real world.

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